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Dean Norris On Playing Good In 'Breaking Bad'
This is FRESH AIR. I'm Terry Gross.
DEAN NORRIS: (As Hank Schrader) Hey, welcome. Everybody listen up, listen up, listen up. I'm gonna give a little toast, a little toast to my brother-in-law. Come here. Walt, you got a brain the size of Wisconsin, but we're not going to hold that against you.
(As Hank) But your heart's in the right place, man. Your heart's in the right place. We love you man. We love you. Everybody, to Walt: Na Zdorovie.
UNIDENTIFIED GROUP: Na Zdorovie.
GROSS: That's a scene from the pilot of AMC's "Breaking Bad," with my guest, Dean Norris, as DEA Agent Hank Schrader, toasting the 50th birthday of his brother-in-law, Walter White. "Breaking Bad" is now in its fifth and final season. At the start of the series, Walt is a high school chemistry teacher diagnosed with terminal lung cancer. To make money to leave behind for his family after he's gone, Walt starts using his chemistry knowledge to cook and sell meth, the purest meth anyone can remember.
Eventually, he gets involved with a cartel and turns into a gangster himself. Meanwhile Hank, the DEA agent, is obsessed with tracking down the mystery man making this pure meth. He doesn't realize it's his brother-in-law.
Agent Schrader is one of the many law enforcement agents Dean Norris has played. His first movie role was in "Lethal Weapon 2." Let's hear a scene from last season of "Breaking Bad." The drug kingpin that Walt has been cooking for wants to make sure Walt doesn't become indispensible to the operation, so the kingpin insists Walt train another chemist, Gale Boetticher, to also cook meth.
But Walt wants to remain indispensible, so he has Boetticher killed. But Boetticher left behind a notebook containing the chemistry formulas for their meth. That notebook becomes evidence, and when Agent Hank Schrader gets hold of it, he goes to visit Walt, figuring Walt's chemistry knowledge will help him confirm that the complicated formulas in the book are for meth.
Agent Schrader is assuming that Boetticher, who kept the notebook, is the genius meth cook he's been tracking, who goes by the name of Heisenberg. He still doesn't realize Heisenberg is really his brother-in-law Walter White. So here's Bryan Cranston as Walter White and my guest Dean Norris as Agent Hank Schrader.
NORRIS: (As Hank Schrader) Hey, welcome, everybody listen up, listen up, listen up. I'm gonna give a little toast, a little toast to my brother-in-law. Come here. Walt, you got a brain the size of Wisconsin, but we're not going to hold that against you.
(As Hank) But your heart's in the right place, man. Your heart's in the right place. We love you, man. We love you. Everybody, to Walt: Na Zdorovie.
UNIDENTIFIED GROUP: Na Zdorovie.
NORRIS: (As Hank) There's this mystery man I've been chasing for the better part of a year, cooks the purest meth that me or anyone else has ever seen. He goes by the name of Heisenberg. Yeah. Pretty weird, huh? I looked him up. It was one of these physicists, one of Hitler's guys, a physicist named Werner Heisenberg. Real cute, huh?
(As Hank) Anyway, I figure with a handle like that, you know, my guy's got to be some sort of a, some sort of an egghead, no offense. And here we go: Gale "Major Tom" Boetticher. Anyway, I just want to see if I'm, you know, not barking up the wrong tree, chemically speaking. As far as I can make out, he's writing about phenyl acetone cook, right?
BRYAN CRANSTON: (As Walter White) Yeah.
NORRIS: (As Hank) Yeah. That's pretty rare these days, but it does jive with the blue stuff I've been tracking.
CRANSTON: (As Walter) Two sticks dairy-free soy margarine, two-third cup turbinado sugar.
NORRIS: It's a recipe for vegan smores. There's all kinds of crazy crap in there. He had like, you know, a top-10 recumbent bicycles, indoor composting tips, all right next to the mother of methamphetamine synthesis. This guy was a - man, he was a real character.
CRANSTON: (As Walter) He seems unique.
NORRIS: (As Hank) Yeah. Let me show you something. Give it here. Give it here. Right here, the top says: to WW, my star, my perfect silence. WW. I mean, who you figure that is, you know? Woodrow Wilson? Willy Wonka? Walter White?
CRANSTON: (As Walter) You got me.
GROSS: Dean Norris, welcome to FRESH AIR.
NORRIS: Thank you.
GROSS: So, you know, what's so interesting about that is that everyone watching this series knows that the meth cook that you're chasing is actually your brother-in-law, and you're, like, the only one who doesn't know, you know. Right?
NORRIS: Right.
GROSS: I mean, lots of people in the series don't know, but, like, the whole audience knows. So what's it like for you to play something, knowing that everybody watching knows a truth that you don't?
NORRIS: Yeah, it's a little frustrating. You know, it's interesting. It kind of goes back to that first scene you played, where he - I mean, I think we as people, certainly law enforcement, they size people up rather quickly, and I think they then hold on to that opinion. And he has known Walter White for a long time, and he's only known him to be this kind of ineffectual, milquetoast kind of guy, and that's who he sees him as.
So the concept of seeing him or even possibly imagining him as some sort of meth cook and a man who could function in that environment is just beyond ridiculous for Hank Schrader. And so the audience can often see and make leaps and say, wow. How come you can't figure it out? There's all these clues that it's him and blah, blah, blah. But they seem like good clues to the audience because, yes, they already know that it's him. But Hank Schrader doesn't. And it's been important to Vince Gilligan and to myself in portraying that character that we don't make him look stupid. He's a good cop. He just hasn't put the pieces together yet.
GROSS: Yeah, and he's put a lot more pieces together than anybody else has.
NORRIS: Right. We talked about that a lot in terms of, you know, making sure we don't ever make him look like a stupid cop, because then the audience loses interest in that. It's really funny, because, you know, that scene is later followed by a scene where Bryan Cranston - and this is one of the things I think is one of the funny things that come along in the show - where he can't allow Gale Boetticher to take credit for being the genius.
And he gets drunk, and he - Hank Schrader is, like, just about to end the case and say, well, obviously this is the guy. He's dead. So there's no more Heisenberg. And it's Walter White who says well, you know, maybe the genius is still out there. And it's one of those great moments, I think, where the hubris of Walter White gets him in trouble, because he keeps Hank Schrader on the case.
GROSS: I love watching each new episode and seeing, like, you know, what the next character development or plot twist is going to do. When you get your new script, what's the first thing you do? Do you just immediately look for your part and see what's happening with your character, or do you read it page by page?
NORRIS: You know, it's changed. The first few seasons, I would read it page by page. The last couple seasons, I would first look for my character's stuff. And then I would - I kind of wanted to preserve watching the show and to see it as the audience sees it over the past couple years. So I didn't always read the entire script. I needed to know what was pertinent to my character, but I kind of wanted to be surprised and be able to watch the show as an audience member would.
So I haven't read them as detailed in the past couple seasons as I have - as I did when I started.
GROSS: And it's not just that you're being lazy in not reading the whole script?
NORRIS: No, because...
GROSS: No offense.
NORRIS: Yeah, no, no. I have plenty of time to read it. I'd like to, but I've gone through this thing with "Breaking Bad." I didn't really watch a whole lot of television prior to doing it. And then we started being compared to all these great shows. So I went back, and I started watching "The Wire," and I started watching "The Sopranos." I'm, like, on the second season of both of those now, having just finished and looking forward to the rest of it.
But I wanted to see where we fit in. And so I then developed this kind of need to want to watch "Breaking Bad" in a pure sense, like everybody else does - not knowing what's going on, not knowing what's going to happen - and see if I had the same reaction to the show as a lot of critics and audience members have. So that's kind of why I did it.
GROSS: So what's your reaction as a viewer?
NORRIS: It's a pretty good show. It's a pretty good show.
GROSS: OK. So there's a few turning points in your character's development, and I want to ask you about one or two. There's a drug kingpin a couple of seasons ago named Tuco. He's kind of like the head of the local franchise of the Mexican meth cartel. And you have a shootout with him. He's already got a gun, a semiautomatic weapon, and you just have a handgun, but you manage to shoot him.
NORRIS: Right.
GROSS: But after that, you start getting these anxiety attacks. And I think, like, your character didn't know he was capable of that level of fear and that he didn't know he could be so shaken by either being shot at or by shooting and killing somebody, which is surprising in the sense that cops in movies and TV shows use their guns all the time and get shot at all the time.
NORRIS: Yeah. You know, it's interesting, because really, in truth, very few law enforcement officers in their entire career ever fire their gun in the line of duty. And when I was doing research for this - and I did a lot prior to that particular shootout, because I wanted to look like I could handle the gun properly and spent a lot of time with not only DEA agents, but other law enforcement types.
And it always amazed me that we would go, and I'd learn to shoot a gun, and these guys practice every week shooting at the range, every week, every week. What would you do if you had to pull your gun in the line of duty? And I thought: Man, that really must wear on you to think about that moment coming for 20 years, for 25 years, however long you're in the career, and never - it never happens. And then one day, boom, out of the blue, it happens. And how would you react?
And that's why they train, because you're supposed to react how you train. And that's ultimately what Hank Schrader does, is he reacts well under that circumstance. And it's only later that the psychological repercussions start to affect him.
And I think that's great. We never see that in TV. I mean, they're shooting - like you said, they're shooting and being shot at all the time. But in reality, that's not true. And I think that the stress of that, either the fear or the fact that he killed somebody is a real psychological problem, or can be.
GROSS: Your first movie was "Lethal Weapon 2." And those "Lethal Weapon" movies, I mean, they're just famous for, like, things are blowing up, glass is shattering, people are jumping through windows, cars are crashing, and everybody's just kind of quipping.
NORRIS: Yeah.
GROSS: So how do you feel about that, having portrayed now a probably much more realistic view of what it's like to encounter violence, even if you're an armed officer of the law? What do you think, looking back on movies like "Lethal Weapon," where no matter what's happening, it's time for a joke?
NORRIS: Right. Well, I - look, I have very fond memories. That was my very first movie, and it was a great time. And I made some good money on it. That's what turned me into an actor from being a waiter.
NORRIS: But, you know, I can see the arguments against those types of movies. But I don't know. I prefer the portrayal of law enforcement that we see with Hank Schrader because of the fact that it's a clearer and a more truthful, I think, portrayal. And, you know, maybe you just chalk "Lethal Weapon 2" movies up to what they're supposed to be, which is fun entertainment.
GROSS: And what kind of waiter were you before becoming an actor?
NORRIS: Well, I'd gotten to L.A. with no money and with no experience as a waiter, and immediately got a - lied my way into a job at a local restaurant, and was there for about six months. And I got a phone call literally while I was at the job saying that I had booked "Lethal Weapon 2." And I was like: Are you sure? How much money, exactly? And now this is guaranteed, right? Yes, it's all done.
I said, OK, took my apron off, handed my, you know, to other waiters, this hamburger goes here, that hamburger goes there, and I left. And interestingly enough, the "Lethal Weapon 2" premiered in the theater next to the restaurant where I was working.
GROSS: Oh, that must have felt good.
NORRIS: That was fun, yeah.
GROSS: My guest is Dean Norris. He plays DEA Agent Hank Schrader in the AMC series "Breaking Bad." More after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Dean Norris, and he plays the character of the DEA Agent Hank Schrader in the series "Breaking Bad."
There's another scene that's a turning point for your character that I want to talk about, and this is a scene where you're assigned to work with border agents, you know, on the Mexican border. And so you're in the desert with a bunch of your fellow DEA agents. And something's approaching you from the distance, and you see it's a very large tortoise, and on the tortoise's shell is a decapitated head. It's the head of somebody who had been an informant for the DEA. And the cartel has written a message on the tortoise's shell that says: Hola, DEA - which is hello, DEA.
And all the DEA agents are kind of laughing at what a, you know, what a spectacle this is, but you're positively revolted. Your legs start to buckle. It looks like you're ready to heave. You kind of wobbly walk back to your car, where you try to regain your composure. And after you've moved away from the scene, one of the other agents lifts the head off the tortoise, and it turns out that the head's been booby-trapped, and there's a huge explosion. All the agents are either killed or mutilated except you, because you were so revolted by this that you'd walked away.
So what was your reaction when you first read the scene? Did you think that this was almost, like, so over-the-top that the writer must have been fooling you?
NORRIS: No. I read that scene, and I was just - it was - to me, it was prototypical "Breaking Bad," because...
GROSS: I should point out, too, there's been so many decapitations in - by the cartels. I suppose in some ways, it's not even that unrealistic.
NORRIS: Right. And it fit - I think it was great, because, in fact, the reason he was - it was part of his PTSD that we were talking about earlier - his post-traumatic stress syndrome - that we didn't really know quite what it was, but that, in fact, is what saved his life, the fact that he couldn't deal with all the stuff that was going on with this, you know, this decapitated head in front of him.
And I thought that, you know, in any other script, in any other show, because we don't - you're not really - you don't really reveal that there's a head on that turtle until you get down there. You see Hank Schrader go, you know, eyes go wide like something crazy's going on. We all rush down there, and it's oh, my goodness. That's the big reveal is that, wow, it's a turtle with a head on it. That would be good enough for most shows. But it's sort of like "Spinal Tap." You know, we go to 11.
NORRIS: Not only is there a turtle with a head on it, but we pull it up, and it blows up. I thought it was brilliant.
GROSS: So there's another scene, another violent scene that I want to ask you about because it's another really big turning point for your character.
NORRIS: Yeah.
GROSS: You're in your car. It's parked. And you get a call on your cell phone saying - from you don't know who. You're not even sure if it's a prank or for real - saying that there are two guys coming to get you, and they will be there in one minute.
And you don't know what to do. You know, you call the person who you think is pranking you. He doesn't answer the phone. You get the voicemail message. You have a digital clock that the camera's looking at in your car, and we see the full 60 seconds of you just not knowing what to do. And you're just kind of frozen and nervous and looking around. And everybody who's walking past the car, you're thinking: Are they the killer? No. They're not the killer. Is that the killer? Is there a killer?
And then a few seconds after the minute elapses, two shooters from the drug cartel are there with guns to avenge their cousin's murder. Would you describe the scene from your perspective?
NORRIS: Yeah. That's - the title of that episode was, in fact, "One Minute." And as you say, we actually let 60 seconds, a whole minute, go through - which is, again, things that are rare on television. That was - you know, it's turned out to kind of - that scene has kind of taken on a life of its own in this "Breaking Bad" series. It's one of those scenes that really kind of defined that season.
It was an amazing thing to shoot. We shot that in two days. A film would have taken, you know, two weeks to shoot that scene. There was no - there were no words other than when I first make the phone call to my partner Gomie. There are virtually no words in a five-minute scene. So it was all done by, you know, by our eyes and being worried and being scared.
And the director literally just had a - would talk me through the scene. We'd put the cameras on, and she'd be, like, you know, looked scared. Look left. Look right. Look really scared. Now you're relaxed a little more. Now you're really, really, really scared. And it was an amazing scene to do.
And when the shootout came, that was something, as well, because there was all - you know, if you're in the car, in order to make the glass break as if it's been shot by a bullet, there's actually a - well, it's essentially a gun that's in the inside of the car that shoots out. And if you happen to get your hand in front of that, you know, it wouldn't be very pleasant.
And it's a very tense situation. There's a lot of cameras going. There's a lot of money being spent. And, you know, you have to make sure you don't move this way, move that way, don't move your head too far that way. You've got to feel the bullet coming in. And there's all these things going on. And they're, like, OK. Ready, now. The most important thing is let's have safety, you know.
NORRIS: And ready, action. And you're like: Oh man, you know. And so there's all these external things that are going on, and you're just trying to stay in this character's head. So it was a really challenging and fun thing to shoot. I didn't have a sense of how that scene would resonate until we really saw it in the finished product, because they put that scene together in just a phenomenal way. Something about that scene, even if you know the ending of that scene, you can still watch it, and you'll get chills right up to the end.
GROSS: When you say and then you had to feel the bullet coming in, what exactly did you mean?
NORRIS: Well, you know, you have squibs on you that are going to blow up. So you have to know - you've got to take...
GROSS: Explain what a squib is.
NORRIS: A squib is a small, explosive device that they put on your shirt that's going to explode with some blood. And it's a little pinch. You know, it's a little - so you get some kind of help there. But you have to time you feeling that hit, being shot by the bullet, at the same time that the technical guy on the side is going to press the button so that it explodes.
So you have to - and, you know, I had like three hits all in one sequence. And then there's other stuff going on. I'm putting the car in reverse, I'm, you know, crawling out of the car. There's all kinds of things going on. And that all happens, you know, at one time. And we did several takes of it, but that take includes getting hit three times. So you have to go boom, I got hit in the arm, boom, I got hit in the back, boom.
At the same time, you want to make sure you don't put your hand or your face anywhere near the gun that's going to be exploding out the window at the same you're putting it in reverse, and you don't want to hit the crew guys that are only two feet from the car, or the guy that's behind you.
And there's all these things that are going on, and you have to kind of keep your wits about you. But at the same time, you're portraying a character who is just, you know, scared and just reacting and moving. So it's a challenging thing to shoot.
GROSS: Dean Norris will be back in the second half of the show. He plays DEA Agent Hank Schrader in the AMC series "Breaking Bad." I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with Dean Norris. He co-stars in the AMC's series "Breaking Bad" as DEA agent Hank Schrader, who is tracking down a master meth cook, not realizing it's his brother-in-law, former high school chemistry teacher Walter White. "Breaking Bad" is now in the first half of its fifth and final season. When we left off, we were talking about the scene in which Norris' character is attacked by two men from a Mexican drug cartel.
So we were talking about being shot in the scene, and you're shot several times and you nearly die, but emerge from that unable to use your legs. And you do very, very slowly start to recover but it's a long process and you have no idea if you ever - early on you have no idea if you will ever regain any movement from your legs. And you've already been very moody because you've been suffering with these anxiety bouts, you know, post-traumatic stress, as a result of having been shot at and shot a man in an earlier episode.
So you're lying in bed a lot. You're really depressed. You're bitter. You're angry. And even your wife Marie, who is trying so hard to like cheer you up and encourage you, every time she comes into the room you just like find a reason to insult her.
GROSS: So I want to play an example of that. So you've been in physical therapy and you're starting to make a little bit of progress and progress is basically charted by the number of steps you can take every day, and it's just a few. So in this scene you're in bed after your physical therapy and your wife Marie comes home. She just spoke to the therapist. Marie's acting very upbeat about the progress you've been making in physical therapy.
GROSS: What did you do to prepare for being weak and being sick, being unable to use your legs and being in despair about your physical state of being and your future?
NORRIS: Yeah.
GROSS: And being dependent in the way that you are. I mean, right after that your wife helps you with the bedpan.
NORRIS: Yeah.
GROSS: Which you just find, you clearly find that like so humiliating. And your response, off course, is always just to insult her and be really cold to her.
NORRIS: Yeah, that was a tough season, I got to be honest with you. You know, you can only wear like a mask so long before it really starts to kind of effect you are. And I really, I think, you know, I remember talking to Bryan Cranston one time and saying how frustrated I was with how the season was going. And he's like man, you just kind of - there's just too much Hank left in you.
NORRIS: You got to let it go. It was. It was it's, you know, to take that character who had been so robust, I mean that's, you know, partly or largely what defined Hank Schrader in the first two seasons. And then to completely take away all his physicality, in the sense that he can't walk and his wife has to change his - wipe his butt and change his bedpan for him. It was just, it was tough. And I, you know, I just I talked to some people, tried to get a sense of what it's like to be disabled and, wow, it's tough, particularly when you, when it first happens to you, you know. And it was just it was a depressing place to be. And, yeah, he did take it out on his wife but that's the only person he had there to take anything out on. So he looked kind of bad as a character, but I think it hopefully, at the end of the day you understood where he was coming from. But it was a depressing, both as an actor and kind of as a person. It kind of took it out on me that season.
GROSS: So I think it was the season before the episode that we've just been talking about that your father had a stroke and I don't think he lived long after that. And I'm wondering if you don't mind my asking, if he was in physical therapy after that and if you watched him try to hang in there and having lost a lot of physical ability afterwards?
NORRIS: Yeah. He didn't go into physical therapy but seeing, you know, your father, you know, basically in a hospital bed for several months certainly was something that I couldn't help but not drawn on. And it was - I lost my mom actually, recently too, so...
GROSS: I'm so sorry.
NORRIS: Yeah. It was, that was certainly something that I drew on for any number of scenes in "Breaking Bad."
GROSS: Were you shooting at the time that he was in the hospital?
NORRIS: I was, the whole time, yeah.
GROSS: So...
NORRIS: So it was - and Vince was very kind to give me certain episodes off when I needed it and things like that. So it was, it worked out that way.
GROSS: If you don't mind my asking, only because so many people are in this position between, you know, balancing the work that they're obligated or committed to doing and visiting, you know, a parent or a spouse or a child who is very sick in the hospital. How did you figure out how much time was OK to be away from the set and how much time you could spend by your father's side?
NORRIS: Yeah. That was a constant issue. My dad, who was the first guy who kind of taught me about entertainment; he was a singer in a band and we had a very, very good relationship. I really love my dad. And he and my mom were big fans of the entertainment business. And, I, they always the first ones to teach me and would always tell me that the show must go on. And I think that's one of the great things about the entertainment business, is that one of the great basic concepts of show business is that the show must go on. I think that's a good lesson for life. So I kind of took that and did what I did. I had a, you know, when I needed to be on the set, I got there. There were few times I would, you know, Vince said, hey, it's not that important for you to be in this particular episode so we can write you out and give you a whole week off and I took that with, you know, with much appreciation. And just had to do it, had to figure between the two. So at the end of the day, the show does have to go on and I made it to the set and did my job.
GROSS: So this season and there's a birthday party for Walt. And Walt explains that it was just about exactly one year ago that he was diagnosed with cancer. Which means that all the stories that have taken place in all of "Breaking Bad" over the past four seasons and several episodes - because we're now in season five...
NORRIS: Right.
GROSS: ...has really happened in one year.
NORRIS: Right.
GROSS: So it's happened over more than four years in terms of actual television viewing time. Is it four or five years or maybe even more because some of the seasons got so delayed.
NORRIS: Right.
GROSS: But, you know, when you go back to the first season, everybody looks like so much younger, like, you know way more than a year as elapsed.
GROSS: So have you guys been thinking about that? Because it's so funny to think that what we've seen as several years and several seasons is supposed to have just happened in one year.
NORRIS: Yeah, we think about that a lot. And we have to remind ourselves too because you kind of get involved in it, and kind of go, wait a minute. In real time in terms of - all right, not real time, but I guess in fictional time it's only been six months, it's only been eight months, it's only been - and we're constantly reminded about that by the producers and directors. Yeah, it is interesting. I, you know, I mean, look, they did 24 over 22 episodes and that was one day so, and Bryan Cranston who has been doing likes to say that, you know, "M*A*S*H," you know, the Korean War, "M*A*S*H" lasted a lot longer than the Korean War did, so...
GROSS: Right. This season, there's a great scene where Walt and his teenage son are in the living room in front of the TV watching Al Pacino in a scene from "Scarface."
NORRIS: Yeah.
GROSS: And Walt's wife, who is just, she just really hates Walt at this point because he just keeps getting deeper and deeper into the meth business and into his gangster self. And she thinks that even though he feels secure and that they're safe that they are not and that her children are endangered. So to make this seem even worse, when she walks in Walt and her teenage boy are watching "Scarface," Walt has their infant on his lap.
NORRIS: Yeah.
GROSS: Which leads me to wonder how old do your kids have to be before they watch "Breaking Bad?"
NORRIS: Well, I'm probably not going to win dad of the year. I don't let them watch "Breaking." I don't let them watch - I have younger kids and I have let them watch the show before. I don't let them watch anything where it looks like I might die. I'm not sure they would be able to deal with that. But I have let them watch the show. Like I said, I won't, I'm not sure this is the right thing to do. My middle son has seen the, and my older son have both seen the Tuco shootout scene. I think, you know, I think you need to be well into your teens probably, as a general, rule to watch the show. And let me just say that there is a even more chilling scene involving that baby later on this season.
GROSS: My guest is Dean Norris. He plays DEA agent Hank Schrader in the AMC's series "Breaking Bad."
More after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Dean Norris. And he co-stars in "Breaking Bad" as the DEA agent Hank Schrader.
You've played a lot of cops in your time - Hank as a DEA agent. Your first movie was "Lethal Weapon 2." You've been in like "CSI" TV shows. Just what is it about you?
NORRIS: Well, you know, if you stop in any doughnut shop and you see three cops eating doughnuts, man, one of them is going to look like me. I don't know why that is, but...
NORRIS: That's about one in three. I guess it's just, you know, you have a certain look and that's, it's kind of an authoritative law enforcement-type look, and that book is certainly the first thing that people cast you with before you get a chance to do some acting and do some other stuff. Like now I'm getting more dad roles, I'm doing some different stuff. I just played a used car salesman in a little movie that I like. Getting some opportunities to do different things than just cops.
GROSS: So you grew up in South Bend, Indiana. Was your father a salesman or did he own the furniture store?
NORRIS: Yeah, he owned a furniture store. That was his day job. And then he had a band that he played every Friday and Saturday night as long as I can remember.
GROSS: What kind of band?
NORRIS: It was a, you know, just like a variety band. They would play at various, you know, bar-restaurant type places, you know, weddings and that kind of thing. And he just loved it and I used to play with them when I got old enough and that's really where I learned - I had a great love for entertainment.
GROSS: What kind of music?
NORRIS: Covers of rock songs. Covers of classics. You know, the Sinatra type stuff, things like that.
GROSS: And what did you play when you played with them?
NORRIS: I played guitar and I also sang and then I had my own band later, any number of bands. And it was really just a great, great time. And my dad, it's just funny, my dad always used to talk about himself 'cause he couldn't read music. He didn't, you know, finish high school and but he was really, really a good entertainment. He had a very nice voice but he never considered himself a singer. He always considered himself an entertainer and he kind of drilled that into me that that's what - when people come there to see him they don't necessarily come to hear a great voice; they come to be kind of taken away for three hours, and that's what he would do.
GROSS: Hm. How did you decide you...
NORRIS: I think it's important in acting, by the way.
GROSS: Yeah. How did you decide you to act?
NORRIS: Well, I'd been doing it since I was 5 in church plays and things like that and did a lot of it in college. It was a tough decision because I went to Harvard and I was the first kid in my family to go to college. My parents didn't go to college, really in my extended family, even with my cousins and stuff. So it was at one level you're like, wow, you know, here's the lottery out of the lower middle class by, you know, getting this ticket into Harvard. And I mean, I had a choice to either go into like, you know, investment banking...
NORRIS: ...or pursue acting. And I talked to a lot of people. I had done some plays with the American Repertory Theatre there in Boston, so I had other professional actors who were, you know, making a living and was able to talk to them, ask them what they thought my chances were and things like that. I really, really tried to look at hard, because so many people decide they're going to become an actor and you go, well, you know, are you one of those guys who is deceiving yourself into thinking you have a chance at doing this or do you really have a chance at doing it? So I really kind of examined that question long and hard. And ultimately, you know, I was doing, you played small parts at the American Repertory Theatre that they would give to the students and I figured these guys all made a living. You know, they didn't make as much money, let's say, as someone on TV or on film but I said, you know, I'm standing backstage in some tights and a codpiece, you know.
NORRIS: Watching grown men, you know, on stage and it was just electric. And, you know, there was 800 people out there and there was just something magical about being, you know, backstage ready to go onstage and you got all your, you know, your colleagues are out there. And I said, man, if this is as good as it gets, you know, and I could do this the rest of my life, be a repertory actor, I'd be a happy man.
And I said OK, so let's do it.
GROSS: So with "Breaking Bad" you've gotten a leading role on TV and it's relatively late in your career. What's it like to have such a prominent part on TV now after having seen people you knew get there much earlier in life?
NORRIS: Yeah. You know, I've always thought that I would be a middle-aged actor. You know, I got out here - I think I did "Lethal Weapon 2," that was my first - but I think I was 25 already. But I was always playing 10 years older than I was because I was losing my hair and I just had that kind of look.
So I was always playing 35-year-olds when I was 25 and I was playing 45-year-olds when I was 35 and I always felt when I got into my mid to late 30s that would be the time where I would be playing characters that fit who I was. And I think different people have, you know, yeah, people who kind of hit their peak when they're young.
And I have no complaints. I made a really good living. You know, I never did anything else but acting since that time, 25, and compared to certainly what, you know, my parents made or most of the people I grew up with made, or even, you know, people out here who had really good jobs as doctors and lawyers. I mean, I made a pretty good - 'cause I worked consistently, I made a pretty good amount of money and felt that I always kind of had made it because every year I put on my IRS form, you know, entertainment. But it is interesting. I mean, I kind of would rather be having all this stuff happening now than having had it happen at 25 and not happen again.
GROSS: Right.
NORRIS: And I do think that my look allows me - I mean, I'm looking at another 20 years of looking - of these types of roles. So, that's not bad.
GROSS: How's "Breaking Bad" affecting the kind of roles you're being offered?
NORRIS: Well, yeah, of course. I mean, the one thing about "Breaking Bad" regardless of how it stands in terms of ratings and the ratings are getting a lot better, it is clearly number one amongst Hollywood types. I mean, we have huge fans that are big, big producers and directors, you know, multi-award winning type producers and directors.
And we often sit around and talk about who we've heard is obsessed with the show, and it's amazing, the names that come out there. So, yeah, I'm getting access to all kinds of really good roles. I mean, I'm heading off to London tomorrow to do a Ridley Scott movie which certainly wouldn't have happened had I not been on "Breaking Bad."
GROSS: And is it a prominent part?
NORRIS: It's a good enough role. I mean, it's with, you know, a few other semi-known people - Brad Pitt and Penelope Cruz and Cameron Diaz. Everybody in the movie is like a mega-star, so I get to be in a movie with those guys.
GROSS: Dean Norris, it's been great to talk with you. Love you in "Breaking Bad." Thank you so much.
NORRIS: Thank you.
GROSS: Dean Norris plays DEA agent Hank Schrader in the AMC series "Breaking Bad," which is in the first half of its fifth and final season. Dean Norris hasn't figured into this season very much so far but judging from last night's episode, that's about to change. Here he is as DEA agent Hank Schrader with one of his superiors from headquarters.
GROSS: Coming up, Ken Tucker reviews two new albums produced by Dan Auerbach of the Black Keys. This is FRESH AIR.
Copyright © 2012 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR's programming is the audio record.


text:
CoreNet Global Summits offer opportunities for members to network, learn and be recognized for professional achievements. CoreNet Global Summits bring corporate real estate (CRE) professionals together from across and from all aspects of the profession.
Expand your career through professional designation programs with CoreNet Global and grow your leadership skills in development programs customized for corporate real estate professionals.
Join in the vision of CoreNet Global as we continue to connect professionals, and the corporations they represent, worldwide through the offering of resources that help make CoreNet Global indispensable to the successful practice of corporate real estate.
CoreNet Global is an opinion leader in corporate real estate benchmarking, workplace and infrastructure management. Enhance your knowledge with resources like research papers, exclusive member survey reports and presentations from top speakers on hot industry topics. Members of CoreNet Global benefit from a wealth of research knowledge and resources.
CoreNet Global offers several ways for members to stay connected to the latest resources, trends and news as it relates to corporate real estate (CRE).
Join with CoreNet Global in our mission to advance the practice of corporate real estate through professional development opportunities, publications, research, conferences, and chapters and networking groups. Build life-long connections through interactions with like-minded professionals who are also looking for ways to gather and share corporate real estate knowledge.

subset: commoncrawl


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Women 'celebrated' at free March 1 event; sign up now
International Women's Day 2013 will be celebrated in Oak Ridge with a free March 1 conference from 8:15 a.m. to 4:30 p.m. in the Pollard Technology Conference Center.
Titled "Empowering Women: Changing Lives," the day-long conference features a number of inspiring women speakers, including Fran Ansley, distinguished professor emeritus, University of Tennessee Knoxville College of Law, whose presentation will be "Entering the Century's Teens: Some Women and Moments Worth Celebrating."
Having earned her master of laws degree from Harvard Law School (1988), juris doctorate from UTK College of Law (first in class, 1979) and her bachelor's degree from Harvard/Radcliffe College (cum laude, English, 1969), Ansley's articles have appeared in a number of law reviews, including California, Colorado, Cornell, Georgetown, Pennsylvania and Tennessee. She co-edited a 2009 book on Latino immigration to the Southeastern United States, and has contributed chapters to several interdisciplinary books on issues of race, gender, poverty and workers' responses to globalization.
"Professor Ansley has a special commitment to lawyering for and with organizations that are working to bring about grassroots bottom-up social change," a release stated. "She has provided pro bono representation, done legal and empirical research, and worked as a community legal educator with a range of such groups throughout her career."
Ansley taught for almost 20 years at UTK's College of Law, where her expertise reached beyond the academy and into the community, a second release stated. "She often found ways to involve her students in collaborative projects aimed at working with communities to tackle problems of social injustice, and her scholarly research tended in a similar direction."
Professor Ansley said she attended her first International Women's Day event at a rally on the Boston Common in 1970, as part of the early days of "women's liberation."
On March 1, the day of the IWD event in Oak Ridge, lunch reservations may be made from 8:15 a.m. to 9 a.m. and programs start promptly at 9. Advance reservations may be made by contacting Mary Ann Reeves at firstname.lastname@example.com or calling (865) 693-6286. You may pick up a ticket and pay for lunches during the 8:15 a.m.-to-9 a.m. period March 1.
Oak Ridge's IWD event "is a part of a global web of diverse local activity that connects women around the world," according to information provided by Cleva Marrow. "Ranging from political rallies and business conferences to networking events such as women's craft shows and theatrical productions, IWD has grown from a single demonstration in New York City in 1908 to a day that was embraced by more than 100 countries in celebrations commemorating the 100th anniversary of International Women's Day in March 2011."
Sponsors of this local event include Women's Interfaith Dialogue; the League of Women Voters of Oak Ridge; the American Association of University Women (AAUW), Oak Ridge branch; Altrusa International of Oak Ridge; United Way of Anderson County; Alpha Kappa Alpha; and You Have the Power Nashville, a victims' rights organization.
Additional speakers on March 1 include Cheryl Travis, professor of psychology and chair of the Women's Studies Department at UTK, whose presentation is titled "Women, Heart Disease, and Health Disparities," and Karla McKanders, associate professor, UTK College of Law, whose presentation is titled "International and Domestic Violence Issues in East Tennessee."
McKanders was profiled in an earlier IWD article and look for more detailed information on Travis in an upcoming print edition of The Oak Ridger and online at oakridger.com.
Darrell G. Richardson can be contacted at (865) 482-1021.


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Cloning Around: Orphan Black Resurrects the (Presumed) Dead
[WARNING: The following contains spoilers from Saturday's Orphan Black Season 2 premiere. Proceed with caution (unless you're Alison on a chardonnay binge.)]
When Helena died last season on Orphan Black, we knew we were going to miss that crazy clone.
Orphan Black Roll Call: What's next for the clones in Season 2?
Fortunately, by the end of Saturday's Season 2 premiere, we learned that we didn't have to. It turns out that getting shot in the torso won't slow Helena (Tatiana Maslany) down much. Somehow, she finds the strength to stagger into the nearest emergency room and tell them, "Excuse me, my sister shot me." Aww, Helena's so polite, even at death's door!
What else did we learn from the season premiere? Check out other highlights from "Nature Under Constraint and Vexed":
Sarah catches the acting bug Our favorite impersonator is at it again, but this time she pretends to be Cosima, and it's a testament to Maslany's skill that we as viewers can figure out it's really Sarah under those glasses and faux dreads through her performance. (Although Delphine, played byEvelyn Brochu, must have figured it out with a kiss.)
Rachel runs deep The damn "proclone" lies about having Sarah's daughter Kira (Skyler Wexler) -- whom we later see alive and having her picture taken by an unknown person -- in order to lure Sarah to Dyad. Apparently, Rachel is also the face of the company (who better to discuss the Dyad matters than one of the clones?), can speak German and is heading to Taiwan for some reason.
Spring TV: A guide to must-watch new shows
Alison catches the acting bug Performance skills run in the clone family. Our favorite suburban housewife wants to normalize her life, so she's sworn off alcohol and pills (good luck with that!) and has signed on to do a musical. The silver lining of letting her best friend Aynsley (Natalie Lisinska) die via garbage disposal? Alison is now the star of the musical, which, as far as we can tell, is about cleaning up after an unfortunate death.
Ramon has resources Alison's friend, the "gun enthusiast" Ramon (Alex Ozerov), is a fresh-faced employee at Econo Mart who deals pills and firearms from the trunk of his car. He also has an eye for the ladies, and Cosima eyes him right back. We hope this isn't the last we've seen of Ramon.
Helena can't escape The cowboy guy Mark (Ari Miller) who gave Sarah grief has a belt buckle with a fish glyph on it. Yup, that means he's one of those religious extremist Proletheans, who are of course interested in Helena. It remains to be seen what this new sect of Proletheans are all about though.
Felix is cheeky We're so glad to see Felix again ... all of him. As is contractually required for Jordan Gavaris, Felix shows off some choice skin in the premiere when Sarah catches him in a club wearing fetish gear that includes buttless chaps.
Cracking the Code
Project LEDA As mentioned previously, Leda is a reference to that Greek myth about the human queen of Sparta Leda who was seduced by the god Zeus in the guise of a swan (ew!). She also slept with her human husband that same day (ew!) and therefore produced two sets of twins: Helen (of Troy fame) and Clytemnestra, and Castor and Pollux. It is often accepted that Helen and Pollux are Zeus' offspring (and therefore are part god). What this means for Orphan Black remains to be seen. Although Sarah and Helena are twins, we're not sure if that means one has some sort of almost demi-god powers, not literally of course. But Helena did survive getting shot, and maybe hit the lottery with her genetics for strong healing. Or Leda could just refer to the cloning experiment in which the scientists were "playing God" or possibly trying to implant favored or "god-like" genes into the subjects.
Bubble Shows: Which will survive?
"Nature Under Constraint and Vexed" The title of the episode is from philosopher Francis Bacon's "Plan of Work" that was published in 1620. The full quote, which basically is about man's manipulation of nature (e.g. cloning), is: "Next, with regard to the mass composition of it: I mean it to be a history not only of nature free and at large (when she is left to her own course and does her work her own way) -- such as that of the heavenly bodies, meteors, earth and sea, minerals, plants, animals,-but much more of nature under constraint and vexed; that is to say, when by art and the hand of man she is forced out of her natural state, and squeezed and moulded."
Best Quotes
"We will wipe, wipe, wipe away the plasma!" -- Alison singing in the musical
"Am I wrong, sailor?" -- Ramon, with a special delivery for Felix and Sarah
After Sarah hits and then disarms Paul (Dylan Bruce)
Paul: "In the face?!"
Sarah: "Sorry."
The eagle-eyed fans will spot series creators John Fawcett and Graeme Manson at the Dyad party. Fawcett is the photographer who snaps a picture of Dyad fan Manson with Dr. Leekie (Matt Frewer).
What did you think of the Orphan Black premiere? Are you glad Helena is back? What were your favorite moments? What are your theories about Project Leda?
Orphan Black airs Saturdays at 9/8c on BBC America.
View original Cloning Around: Orphan Black Resurrects the (Presumed) Dead at TVGuide.com
Other Links From TVGuide.com


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harrison george - give me love - Free Guitar tabs
harrison george give me love chords 2257
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Chinese domestic worker with William Smith
- CA CHL CHL_P.Coll 120 Item 46
- Item
- 1896
Photograph consists of an unnamed Chinese domestic worker from the household of Lister Smith holding Lister's young son William Smith on his knee. Signatures: "L.N. Smith's baby & cook" written on original container.
Booen, James Orville


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Mobile computing's rise from niche market to the mainstream is among the most significant technological trends in our lifetimes. And to a large extent, it's been driven by the bounty of Moore's Law—the rule that transistor density doubles every 24 months. Initially, most mobile devices relied on highly specialized hardware to meet stringent power and size budgets. But with so many transistors available, devices inevitably grew general-purpose capabilities. Most likely, that wasn't even the real motivation. The initial desire was probably to reduce costs by creating a more flexible software ecosystem with better re-use and faster time to market. As such, the first smartphones were very much a novelty, and it took many years before the world realized the potential of such devices. Apple played a major role by creating innovative smartphones that consumers craved and quickly adopted.
To some extent, this is where we still stand today. Smartphones are still (relatively) expensive and primarily interesting to the developed world. But over the next 10 years, this too will change. As Moore's Law rolls on, the cost of a low-end smartphone will decline. At some point, the incremental cost will be quite minimal and many feature phones of today will be supplanted by smartphones. A $650 unsubsidized phone is well beyond the reach of most of the world compared to a $20 feature phone, but a $30 to $40 smartphone would naturally be very popular.
In this grand progression, 2013 will certainly be a significant milestone for mobile devices, smartphones and beyond. It's likely to be the first year in which tablets out-ship notebooks in the US. And in the coming years, this will lead to a confluence of high-end tablets and ultra-mobile notebooks as the world figures out how these devices co-exist, blend, hybridize, and/or merge.
Against this backdrop, in this two-part series, we'll explore the major trends and evolution for mobile SoCs. More importantly, we'll look to where the major vendors are likely going in the next several years.
Tablet and phone divergence
While phones and tablets are mobile devices that often share a great deal of software, it's becoming increasingly clear the two are very different products. These two markets have started to diverge and will continue doing so over time.
From a technical perspective, smartphones are far more compact and power constrained. Smartphone SoCs are limited to around 1W, both by batteries and by thermal dissipation. The raison d'etre of a smartphone is connectivity, so a cellular modem is an absolute necessity. For the cost sensitive-models that make up the vast majority of the market, the modem is integrated into the SoC itself. High-end designs favor discrete modems with a greater power budget instead. The main smartphone OSes today are iOS and Android, though Windows is beginning to make an appearance (perhaps with Linux or BlackBerry on the horizon). Just as importantly, phone vendors like HTC must pass government certification and win the approval of carriers. There is very much a walled-garden aspect, where carriers control which devices can be attached to their networks, and in some cases devices can only be sold through a certain carrier. The business model places consumers quite far removed from the actual hardware.
In contrast, tablets are far more akin to the PC both technically and economically. The power budget for tablet SoCs is much greater, up to 4W for a passively cooled device and as high as 7-8W for systems with fans. This alone means there is a much wider range of tablet designs than smartphones. Moreover, the default connectivity for tablets is Wi-Fi rather than a cellular modem. The vast majority of tablets do not have cellular modems, and even fewer customers actually purchase a wireless data plan. As a result, cellular modems are almost always optional discrete components of the platform. The software ecosystem is relatively similar, with Microsoft, Apple, and Google OSes available. Because tablets eschew cellular modems, the time to market is faster, and they are much more commonly sold directly to consumers rather than through carriers. In terms of usage models, tablets are much more PC-like, with reasonable-sized screens that make games and media more attractive.
Looking forward, these distinctions will likely become more pronounced. Many tablets today use high-end smartphone SoCs, but the difference in power targets and expected performance is quite large. As the markets grow in volume, SoCs will inevitably bifurcate to focus on one market or the other. Even today, Apple is doing so, with the A6 for phones and the larger A6X for tablets. Other vendors may need to wait a few years to have the requisite volume, but eventually the two markets will be clearly separate.
Horizontal business model evolution
Another aspect of the mobile device market that is currently in flux and likely to change in the coming years is the business model for the chip and system vendors. Currently, Apple is the only company truly pursuing a vertically integrated model, where all phones and tablets are based on Apple's own SoC designs and iOS. The tight integration between hardware and software has been a huge boon for Apple, and it has yielded superb products.
Samsung is one of the few others companies that takes a vertically integrated approach to phones and tablets, although in truth its strategy seems to be ambivalent on that point. Unlike Apple, Samsung's SoCs are readily available to third parties, and some Samsung devices, such as the S7562 Galaxy S Duos, use SoCs from competitors. More recently though, there has been a trend of Samsung devices using Samsung SoCs, at least for the premier products. For the moment, Samsung's approach is best characterized as a hybrid, particularly as the company lacks a bespoke OS.
The rest of the major SoC vendors (e.g., Intel, Qualcomm, Nvidia, TI, Mediatek, etc.) have stayed pretty far away from actual mobile devices. These companies tend to focus on horizontal business models that avoid competing with customers or suppliers.
In the long term, mobile devices are likely to evolve similarly to the PC and favor a horizontal business model. The real advantage is one of flexibility; as costs drop and the market expands, it will be increasingly necessary for vendors like HTC to offer a wide range of phones based on radically different SoCs. While a vertically integrated company like Apple can focus and maintain leadership in a specific (and highly lucrative) niche, it would be very difficult to expand in many growing areas of the market. The differences between an iPhone 6 and a $20 feature phone are tremendous and would be very difficult for a single company to bridge.
However, SoC vendors will attempt to reap the benefits of vertical integration by providing complete reference platforms to OEMs. Conceptually, this is a form of "optional" system integration, where the phone vendor or carrier can get the entire platform from the SoC supplier. This has the principal advantages of reducing time to market while also providing a baseline quality and experience for consumers. Currently, this approach has mostly been tested in emerging markets, but it's likely to become more common over time. There is a crucial distinction between reference platforms and vertical integration. Namely, OEMs can always choose to customize a platform to differentiate, and the SoC vendor avoids dealing with consumers directly. Typically, most of the customization is in terms of software on top of a base operating system.


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Ladies suede sports casual shoes plus size leather shoesRegular price $93.99 Sale price $53.99 Save 43%
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Areas of Brooklyn, New York feel like a trip back in time. Ultra-Orthodox Jewish communities live a lifestyle that mirrors their ancestors from centuries ago. The dress, hair, language, education, food, values, prayers, traditions and community structure have been passed down and preserved through many generations and across oceans. All of those are an expression of the residents' profound faith in God.
What is not visible are shameful secrets: Child sex abuse scandals have been making headlines for years and bringing unwanted attention to a group bent on privacy.
For Hasidim, every waking act is defined by the laws of the Torah; they depend on the teachings of rabbis to guide them in all parts of their day. Influence from the secular world threatens to invade their insular community.
Now revered leaders of the community are accused of protecting child predators and punishing the victims who dare to speak out about what was done to them, all to avoid outside involvement.
CNN's Gary Tuchman talked with Rabbi Nuchem Rosenberg who is trying to change that attitude. He has created a hotline for victims and their families. As a result, he received death threats. He told Tuchman, "The rabbis feel very hurt that this is what's happening in the community so they want to push it under the cover, so that it shouldn't come out."
Crimes against children by adults who claim to live the word of God are not new. Many religions have demons, and the ultra-Orthodox Jews are no exception. Most deny it could happen in their midst. Child rape and molestation don't fit their pious image.
In Brooklyn, there are allegations of abuse in schools, homes and religious settings. Several boys say they were assaulted in a ritual bath called a mikvah. For all branches of Judaism, the mikvah is the ultimate symbol of purity. Some Orthodox men go there before each Sabbath. Under the guise of observance, the accused find their victims where they are most vulnerable and trusting – a heinous strategy.
Still some victims and their families choose to bury the assaults or seek redress in a rabbinic court to avoid the alternative: Rabbis losing authority, bringing disgrace to the community, and suffering the backlash of friends and neighbors.
Pearl Engelman says her son was repeatedly molested by a school official as a young boy 20 years ago. After she found out about the abuse, she reported it to religious leaders but there was little sympathy for her family. "We stand for truth, for justice. And the cover-up is deeply painful to me," she told Tuchman. The statute of limitations has now expired.
The Hasidim in Brooklyn are a powerful voting block. That's why District Attorney Charles Hynes is accused by victims' rights advocates of going easy on alleged Hasidic child molesters and rapists. He's been elected six times, and is accused of appeasing the rabbis in order to get their support and keep his position.
Hynes strongly denies the allegations. In 2009, he established a program and a hotline to help victims called Kol Tzedek ("Voice of Justice" in Hebrew). But critics are outraged because he refuses to disclose the names of the men arrested through the initiative. The Jewish Daily Forward's request for the records filed under the state's Freedom of Information Law was denied.
Hynes claims that revealing the names of the suspects could lead to the community identifying the victims and intimidating them. That decision raises concerns about the rights of the public, the legality of shielding the men, and the DA's motives.
Tuchman asked Hynes how he reconciles instituting a policy for the Hassidim, but no other groups, like the Roman Catholic Church. He says because "there's never been any intimidation by priests."
In a May 16 op-ed, Hynes wrote:
Since the inception of Kol Tzedek, we have made 95 arrests; 53 cases have been adjudicated, with a conviction rate of 72%.
I stand by these numbers.
The statistics show how absurd it is to suggest that we cover up, downplay or in any way "give a break" to sex offenders in the Orthodox Jewish community. Like any other defendants, they are often arrested in public by the police, and their court appearances are open and available to the public as part of the public record. I welcome scrutiny of these cases.
The suggestion that I have ever condoned the practice of first seeking a rabbi's advice before an Orthodox Jewish community member reports sexual abuse is a distortion of my record. I have never suggested that someone seeking the advice of a rabbi is then relieved of the obligation of reporting sexual abuse to the appropriate authorities.
While some may persist in protecting the community ahead of justice for the young victims, there are signs of progress. On June 10, a group of ultra-Orthodox Jews held a meeting in Crown Heights to talk about combating child sex abuse. Hynes was on the panel. Some rabbinic leaders have said anyone with knowledge of abuse should go to the police and do not need to talk first with a rabbi. It will take the courage of the victims and the compassion of the community to make lasting change.
Although I feel that, tragically, there is always child molestation going on, and don't feel any group is totally exempt, the numbers bothered me – does the reporter have actual claims on which to base this? He seemed a bit giddy while reporting, wondering if he has his own agenda. More important, I would like to see a story on a group that even has an actual association – NAMBLA. They promote sexual abuse of young boys. Let's dig deeper into this disgusting group, it has always made me sick.
What happened to sex offender registries. Are those not used in New York City. You can't comply with that law and still protect identities. That is the point of a registry!!!
I'm a chosid with 8 children; although abuse exists in our community the numbers given by Rosenberg are extremely exaggerated. Rosenberg is doing good work however he is still a Meshugener.
If the Hasidic community refuses to live by the rules of our society; rules such as contacting the authorities in cases of pedophilia, they should get out. They would be welcome in Israel, I am sure.
As a survivor of sexual molestation as a young girl, I think it is imperative that any victim of any sexual crime has the right to swift and hard justice. Some of the worst crimes against children have been committed by so called "holy" men and women who hide behind the walls of their 'faith' and 'religion'. These criminals need to be brought to justice, and legislation and laws should be created to provide safe routes for Rabbis, clerics, social workers, teachers and family members to aid in the carriage of justice without fear of harm from the community at large. It's time to expose the underbelly of this monster to the light of day where the true Justice-from G-d, can be delivered. The vermin know where they hide, and it's just a matter of time when they will all be brought to bear.
As a Catholic, my heart and prayers go out to the Hasidic who seek to live their faith amidst the onslaught of evil against them. I pray that your faith be spared the recriminations that we have endured and the debasement of your religion due to the actions of criminals and evil persons amongst you.
Orthodox Jews and Roman Catholics are not the only religious groups where authority figures are known to facilitate sexual activity. I suspect that other religions have the same problem that is being kept out of sight using various specious arguments to keep the activity secret. It would seem logical that the more hierarchical the religion the more the practice of sexual abuse by religious leaders and suppressing knowledge of such behavior by others in the religious community is likely to occur.
You would think that such a crime would be unthikable to the "men of G-d". Such story is beyond dissapointing.
New York is clearly dragging its feet about cracking down on child molestation and other types of child abuse.
This is because Catholic priests and other molesters like these Jews "lobby" aggressively against tougher laws.
If these groups were not allowed to lobby / bribe legislators things would be very different.
I want to see them going after all perpetrators – and especially after NAMBLA.
You don't get to single out certain sectors of the population to ban from lobbying because a tiny percentage of this or that sector are pedophiles, so *you* decide that the entire sector must be lobbying to protect them.
It should be noted here that approximately 25% of those Hynes claims to have prosecuted under Kol Tzedek occurred before the program began. Hynes is flagrantly breaking the law by not releasing names of people who have been arrested and convicted. These are public records under any reading of any state's law, and certainly New York's.
I will not stick my head in the sand and state that no such abuse occurs. However, it is irresponsible to throw around a statistic that 1 in 5 children is abused without making some attempt to substantiate it. The Orthodox Jews have large families with many children – certainly at least 5 on average. I refuse to believe that on average every single family has a child that has been abused without some support for such an inflammtory statement. Real Orthodox Judaism, when practiced in keeping with its teachings, encourages normal, healthy family relationships which would remove the temptation for rampant abuse amongst its members like we've seen in other communities as of late.


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Lisa Alzo of The Accidental Genealogist blog presents Fearless Females: 31 Blogging Prompts to Celebrate Women's History Month. The final challenge for the month is to write a 500 word mini-profile of a female ancestor. I've chosen one of my lines that I don't write about often, and a female ancestor who rarely appears in my blog spotlight.
Bridget Furlong was born to Martin Furlong and his wife, Margaret nee Sta(u)nton and baptised on 29 December 1840 at the Roman Catholic Church, Tullamore, Kings County (Offaly). The Griffith Valuations place the family in the townland of Shr(u)agh, but their absence from the church records suggests they were not native to Tullamore. Nothing is known of Bridget's early life other than that she lived through the devastating experience of Ireland's Great Famine. Later generations of Furlong men would be skilled Gaelic footballers. Were Bridget's brothers, John and Martin, similarly talented?
Bridget married James Sharry, a railway man, in Tullamore on 21 May 1859 (witnesses John Horan and Maria Slavin). Their sons, Peter (1861) and James (1865) were both baptised in Tullamore but their second son, Martin, was baptised in 1863 at Arklow, Wicklow. Their childrens' baptisms track the family's movement from Tullamore to Arklow to Gorey, Co Wexford where the family settled in the townland of Knockina, probably in a railway house.
Around the time of their 23rd anniversary the couple made the decision to emigrate. Queensland was building its extensive railway network and James would have readily gained employment as an experienced railwayman. James and Bridget and eight of their ten known children (James, John, Mary Agatha, Margaret, Bridget Agnes, Catherine, Esther Anne, and Patrick) arrived in Rockhampton on board the Melpomene on 20 January 1883. The family name changed to McSharry, possibly to piggyback on the renowned railway company, McSharry and O'Rourke. Son Martin may have died in Ireland[i]. Eldest son Peter, wife Mary, and his young family would arrive in Australia a year later, changing his name to McSherry.
The McSharrys settled first in Rockhampton where James worked as a railway platelayer[ii]. As with the Irish records, BDM events track their geographic movement. Daughter Margaret died in Rockhampton in 1884, aged 12, of shock from burns. John, aged 19, drowned in the flooded Claude River in March 1887 while working as a labourer on/near Mantuan Downs station. Their youngest son, Patrick, died in Gympie in 1889 of pericarditis, aged 8 years. Newspaper reports seem strangely silent on the deaths except John's. James McSharry is not listed as the informant on the certificates.
Bridget reappears running boarding houses, first in Maryborough (1892-93) and then in Derby St, Rockhampton (1894-97). James disappears entirely from view and nothing has been found of his death. Did James desert her as I suspect, or has his death gone unreported somehow? Certainly life went badly wrong for her and the family not very long after their arrival. Down all these years I feel the terrible sorrow of her loneliness and the betrayal of her dreams, but no loss of faith.
Bridget McSharry née Furlong, a widow aged 59, died in Rockhampton on 13 July 1900 and is buried in the North Rockhampton cemetery.
Tullamore Parish register – information received from Offaly Historical Society. Confirmed through LDS microfilm 926186.
Griffith Valuations on microfiche (Tullamore).
Gorey parish records viewed on site.
Queensland Immigration records.
Official Queensland death certificates.


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PH and Sleep Apnea
- What is the connection between sleep apnea and PH?
- How does sleep-disordered breathing affect the body?
- What is the relationship between sleep apnea and pulmonary hypertension?
- What treatments are available?
What is the connection between sleep apnea and PH?
Obstructive sleep apnea (OSA) has been identified as a significant cause of and/or contributor to cardiovascular disease. OSA has been shown to increase the risk for hypertension, pulmonary vascular disease, ischemic heart disease, stroke, congestive heart failure, and arrhythmias. The true relationship remains controversial despite the growing body of evidence that links OSA to the development of cardiovascular disease. Many risk factors for OSA are also known risk factors for cardiovascular disease, such as age, male gender, obesity, diabetes mellitus and hypertension. Therefore, it is difficult to prove whether OSA independently causes cardiovascular disease.
How does sleep-disordered breathing affect the body?
Episodes of sleep-disordered breathing cause blood vessel changes that can cause and contribute to cardiovascular disease. The adverse effects that OSA imposes on cardiovascular function are thought to arise from recurrent cycles of not breathing, intermittent hypoxia and the resulting arousals. This cycle of nocturnal desaturation results in an increase in sympathetic tone, impaired nitric oxide synthesis, endothelial dysfunction and ultimately leads to vascular and cardiac dysfunction, atherosclerosis and hypertension.
What is the relationship between sleep apnea and pulmonary hypertension?
The 2004 American College of Chest Physicians (ACCP) consensus panel found that pulmonary hypertension occurred in 17 percent to 53 percent of individuals with OSA, whereas a review from Johns Hopkins found that 82 percent of patients with pulmonary arterial hypertension had underlying sleep-disordered breathing. The nocturnal drop in oxygen impairs nitric oxide synthesis and causes vascular remodeling which can lead to the development of pulmonary vascular disease. However, whether OSA independently causes clinically significant pulmonary hypertension remains controversial. Thus, the current ACCP guidelines do not recommend evaluating patients with OSA for pulmonary hypertension unless it is clinically suspected. However, patients with pulmonary arterial hypertension should be evaluated for OSA.
What treatments are available?
CPAP (continuous positive airway pressure) has been shown to be effective in patients with heart failure. Controlled trials have shown that treatment of OSA with CPAP is associated with significant improvements in cardiac function, sympathetic activity and quality of life. In the Canadian Positive Airway Pressure study, CPAP improved nocturnal oxygenation, increased left ventricular function, lowered norepinephrine levels and improved functional capacity among patients with sleep apnea and heart failure. Several recent studies have shown reductions in pulmonary artery pressure in patients with OSA after nocturnal CPAP treatment.
Answer provided by David Pham, MD, FCCP, Pulmonary Hypertension Specialist, Pulmonary & Critical Care, Lung Care Center, Fountain Valley, Calif.
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We had such hopes for Intel's Ultrabook movement. With the first clarion call, we dreamed of a PC that would shatter Apple's monopoly on high-quality ultra-thin-and-light notebooks. In the first year of the Ultrabook campaign, we saw a few possible claimants to the throne, but in general, each entry was more disappointing than the last. The machines became notorious for using workarounds like larger screens (a 14-inch monitor in a 13-inch body!) and hard disk drives with flash caches (rather than actual solid-state drives) to skirt Intel's Ultrabook speed and size requirements.
Nearly a year after Intel launched the initiative, manufacturers have finally taken the Ultrabook specs to heart. Lenovo's ThinkPad X1 Carbon reflects what we feel is the true spirit of an Ultrabook: a light, thin body with powerful internals. Lenovo gets it. At long last, PCs have a real shot at the segment Apple has been dominating for years with the MacBook Air.
The touch, the feel of rubberized silicone
First, the waifish body: at a base 2.99 pounds, 0.31 inches at its thinnest point, and 0.74 inches at its thickest, the X1 Carbon has similar dimensions to the MacBook Air (2.96 pounds and 0.68 inches at its thickest). But that's the 13-inch MacBook Air; the X1 Carbon actually has a 14-inch 1600×900 screen packed into a "13-inch body," as hardware manufacturers are recently so fond of saying. The extra display area is noticeable compared to a 13-inch computer, yet our backs and shoulders don't suffer any more for the extra real estate. And when we say 13-inch body, we mean it; the X1 Carbon is 13.03 inches wide by 8.9 inches deep, comparing well with the MacBook Air at 12.8 by 8.94 inches.
The feel of the all-over rubberized silicone body is nice, despite the silicone's tendency to pick up dust and detritus (it brushes away fairly easily). The ThinkPad line's austere design and overwhelming blackness aren't to everyone's taste, but we like it. The machine looks sleek but functional.
Our only quibble is with the stiff hinge—we can't get a finger under the top half and fold the computer open without the bottom trying to follow. Instead, we have to use both hands: pry the top up, pin the bottom down, and then open the thing all the way. (Most of the Ultrabooks we've tried struggle on this point, apart from the MacBook Air.)
The trackpad is a single unified glass surface with no demarcation for left and right clicks. If trackpads aren't your thing, Lenovo also offers a trackpoint surrounded by the G, H, and B keys, with its own set of three mouse buttons below the keyboard. The keyboard backlight, which has three brightness settings (off, low, and high), can be turned on and off with the spacebar and function key.
Lenovo has boldly attempted to integrate multitouch gestures into the trackpad on the X1 Carbon, a move that has proved disastrous for certain Ultrabooks in the past (it was the downfall of the first Asus Zenbook, for instance). But Lenovo's implementation is pretty decent; that is, the hardware and gestures respond well—but most apps aren't keen to act on them.
Two-finger scrolling is our one true gesture love, and that works here without a hitch. The scrolling is smooth and it's not inertial by default, though you can turn on "coasting" in the settings to get the inertial effect. But two-finger scrolling works only in some applications. The gesture works perfectly in Chrome, but if you try to scroll through your buddy list in Pidgin, you're out of luck. Two-finger zoom is present in theory, and the cursor changes perfectly on cue to an arrow with a plus-minus scale next to it so we know it's engaged. The problem is its implementation in apps is even more limited than two-finger scrolling. Webpages, for example, will not zoom, but Paint will.
Other gestures include two-finger tap and three-finger press (gesture versions of hotkeys to launch an application associated with the touch), two-finger rotation, three-finger "flick" (back and forward in the browser, or for bringing pictures into slideshow mode), and four-finger flick (brings up the Alt-Tab application switch menu). Once Windows 8 rolls around, some of these gestures will likely be superseded by Windows 8's own gesture input.
Four hardware buttons sit on the left above the keyboard, including a volume rocker and mute toggles for the sound and microphone. A fourth bar-shaped button in a round indentation has nothing to identify what it does, but pressing it brings up a type of quick launch screen with app icons. Our X1 Carbon is still running Windows 7, but we could see this hardware button getting converted to bring up the Windows 8 tablet-style UI.
Along the left side of the X1 Carbon is a power jack, USB 3.0 port, and a hardware switch to control "wireless radios" (WiFi and Bluetooth). The opposite side holds a Kensington lock, USB 2.0 port, Mini DisplayPort, headphone jack, and 4-in-1 SD card reader. What's missing? The X1 Carbon has no Ethernet port, a notable absence for some users, though Lenovo will sell a USB-to-Ethernet adapter. All models of the X1 Carbon will also have an option to include WWAN networking (one reason the price of our review unit is so high). Only the base model, with a Core i5-3317U, does not have this option.
As for the display, it looks great, resolution-wise. Unfortunately, its cast was distinctly blue when we got the computer; fuschias appeared purple, teals appear cerulean. This is an easy fix: turn the blue down in Windows' color balance settings and it becomes much more color-accurate. The lighting in the display has no noticeable unevenness, and even at full brightness the blacks are still very dark.
In testing out the speaker, we noticed the sound from the X1 Carbon can be somewhat thin and tinny, with distortion at higher volumes. This makes it better for, say, watching movies at range than playing music. The power brick that comes with the X1 Carbon is a bit bigger and heavier than we've seen on other Ultrabooks.
The wall-to-brick cord in the box is only about three feet long, but the cord from the brick to the computer is much longer than is typical. This isn't a dealbreaker, but when we're talking about an ultraportable computer, every ounce brings us closer to back pain, and the power brick doesn't help the X1 Carbon's case in that regard.
The bezel of the X1 Carbon is equipped with a "720p HD camera," according to Lenovo. Like most webcams, it's serviceable, but the level of detail isn't great, and colors are very washed out. You won't be making DailyBooth masterworks with it, but it works fine for video chatting.
Next up: Performance!


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The Private Label Jerky Company is Your Source for Jerky, Meat Sticks, and Other Meat Products. Contact Us Today!Contact Us
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